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Wood Butcher

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Everything posted by Wood Butcher

  1. The good news is that there is no need to get an insurance appraisal for this, it’s nothing like a Tubbs at all.
  2. Lots of things were good enough in the past, but time marches on.
  3. I very much agree here. I've seen the work of certain makers where they deliberately put in these artificial gouge marks afterwards, especially at the scroll, soundhole wing, or corners. It looks truly horrible, and just stupid, in my opinion. I heard one maker, who doesn't like them either, refer to them as "designer tool marks".
  4. Crap stuff can be found everywhere, so there is no need to look hard. There is far more crap stuff, than good stuff. If you want something good, go to a shop.
  5. The top is your reference surface, and if you are talking about the neck root, this is cut at 87 degrees to the top surface. Often you can't square up all of the block, due to the shape of the blank. I always try to have the sides square, at least until where the eyes would be. If I can't do this, I will glue on some scrap wood, then plane it square.
  6. Or from (properly) restoring one, either.
  7. Your cello looks stunning, such amazing workmanship and materials! If it sounds half as good as it looks, anyone should be proud to own one. Well done!
  8. Do you think the Earl of Wilton trademarked his name in the 19th Century? This would mean that the Roth's had to then use the fictitious person, Carl, of Wilton, who was an English carpet maker (and probably didn't own a violin).
  9. Under the fingerboard is where a lot of dirt and rosin can build up, mainly because it's quite hard to clean well under there. Are you sure it wasn't just that?
  10. Maple has a consistent texture, which makes cutting the purfling channel neater. Spruce is hard then soft, so more likely to have wiggles when cutting the channel. Notches on soundholes we’re probably cut last, almost as an afterthought. In your pic, it’s obvious the right (treble) sound-hole has been mashed by idiotic sound post adjustments from a simpleton too. I’m not seeing anything unusual for a cheap workshop violin.
  11. More likely they just took another Dutzendarbeit from the line, and put in that label.
  12. Congratulations, you have invented the xylophone.
  13. Being such a Juzek aficionado, perhaps you can tell us which Gagliano they supposedly copied? It bears little resemblance to the Gaglianos I have seen.
  14. If that is the case, maybe you should consider a second hand Chinese cello, of a better quality than what you have currently. It's not realistic to buy something like the cello pictured, which doesn't look like it's been used in decades, and expect it to all be fine, or only need new strings. Soon that 400, is going to double, just so you can try the thing, then in winter, the cracks and seams could come open, etc. And on it goes.... If it was a great buy, someone else would already have bought it.
  15. It depends on your intentions for the cello, as to whether it is worth buying. Is it to play on, or are you hoping to make money from it? If it is the former, then practically anything can be restored. If it should be, or is worthwhile, is an entirely different matter. The table seems to have more cracks than wood, and many of those cracks are in places you really don’t want them. Clearly, the neck has been smashed out as well, and given that the pegs are worn through almost to the collars, the scroll will most likely need bushed. We can’t see if the neck elevation is correct, the neck is crooked, the state of the fingerboard, or what other horrors lie in wait, from the few photos provided. Is the Munson label meaningful in any way?
  16. It seems the popular method now is to cook the resins for a very long time, in order to achieve a desired colour without added pigments. With an electric hotplate, IR thermometer, good vessel, this is a successful and controllable method. But in the 17th and 18th century, I can't see how it would have been possible, or perhaps even safe, to cook resins for hundreds of hours on open fires. Are there any historical documents which support cooking resins for these extended periods, or is this purely a modern pursuit?
  17. Also, this will likely be an insurance valuation, which bears no reality to the sale price of any instrument. Curious that they do not show any paperwork to support this claim, and also as the shop no longer exists, no way to verify the above claim anyway.
  18. For those who are experienced restorers, when you are half edging only a section of belly, do you cut straight lines, and set it in to form a butt joint at the ends, or feather the ends out? Could a butt joint cause problems down the line?
  19. You have plenty of fans of your amazing work, Davide
  20. Perhaps you will be able to secure a sizeable friend's discount for it.
  21. Does anyone else think that the title of "eBay offering", sounds like something needs to be sacrificed to the gods?
  22. I'd disagree with some of this. A two piece back may have more stability than a one piece back, if it is quarter sawn, and has the grain parallel to the centre joint. A slab cut back is different, because it shrinks in a different way. There is quite clear evidence of shrinkage and opening of the back centre joint. Someone has already had to attend to this, by attempting to reglue the joint in the lower bout and up past the soundpost position.
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